2013/14 - LISTE 18 | The young art fair in Basel

Maisterravalbuena1/2/2MaisterravalbuenaPedro MaisterraBelén Valbuenac/o Doctor Fourquet 6ES-28012 MadridT +34 911 733 034M +34 664 414 296galeria@maisterravalbuena.comwww.maisterravalbuena.comShown at LISTE:A Kassen, founded 2004Members of the group:Christian Bretton-Meyer, 1976, DKMorten Steen Hebsgaard, 1977, DKSøren Petersen, 1977, DKTommy Petersen, 1975, DKRegina de Miguel, 1977, ESMaria Loboda, 1979, PLOther Artists of the Gallery:Antonio Ballester Moreno, ESKarmelo Bermejo, ESAna Cardoso, PTKate Gilmore, USClaire Harvey, GBDaniel Jacoby, PEErlea Maneros Zabala, ESNestor Sanmiguel Diest, ESHiraki Sawa, JPCristián Silva, CLA KassenEncirclement #42,2012C-print, curvedglass, wood152 × 115 cmUnique pieceRegina de MiguelKnowledge NeverComes Alone, 2013HD video, colour,sound, 39’ 28’’Maria LobodaPlay of the jewels(7 citrines, 9 Chineseturquoises, 5 pyrites,11 lava stones), 20128 citrines, 9 Chineseturquoises, 5 pyrites,11 lava stones on awooden trayDimensions variable124 / 125A Kassen’s uncanny actions are not alwaysperceptible at first sight, but their workultimately takes on the form of performativeinstallations and sculptures that succeedin altering the viewer’s perception,with an added dose of humor. Testing theboundaries between what is consideredart and what is not, they often draw uponreferences to 1960s conceptual art intheir critical reflections on the absurdity ofsituations that arise in specific contexts,both artistic and mundane.Versatile cultural references to literature,music and art alongside mysticismand folklore can be discovered in MariaLoboda’s work. A basic interest for thetransformation of language and knowledgein specific objects as well as roomensembles crosses her work. In thesethemes Loboda refrains from focus on acertain era and instead investigates asa researcher throughout several fields.Loboda engages with the condensation ofcultural history in artefacts and how theymay materialise in our time.Regina de Miguel’s work draws connectionsbetween situations of scientific analysisand perception as objective knowledge(verisimilitude scales), non-experimentallearning derived from technologicalimagination (surprising and projection)and levels of formation of ideal and criticalconsciousness (new means of orientation).A part of her production deals with thestrategies of the formation of desire,the crises of subjective meaning and theirvisualization as psychosocial landscape asa form of map making. In the same vein,she also analyzes the speculative transferin scientific and cultural learning tools.